Inga Rumpf was one of the best-known German R&B singers. Her voice often drew comparisons to Janis Joplin, but Rumpf was able to develop her own unique vocal style. Catapulted to stardom in the ‘70s with her band Frumpy, she released a number of highly acclaimed solo works in the ‘80s and ‘90s and came to be regarded as the grand old lady of German R&B. Whereas other German female vocalists such as Nina Hagen faded away over time, Rumpf consequently followed her path and never compromised herself artistically (unlike her ex-bandmate Udo Lindenberg, whose creativity died down by the end of the ‘80s when he started putting out lightweight pop).

Born on August 2, 1946 in Hamburg, Rumpf started performing as a teenager with different blues bands in the Hamburg entertainment district of St. Pauli. In 1965, she founded the folk band City Preachers and recorded three albums with them. After a creative crisis in 1969, the band changed styles from folk to a mix of beat and soul. A new lineup reflected this: Jean-Jacques Kravetz (keyboards), Karl-Heinz Schott (bass) and Udo Lindenberg (drums) formed the core of the new band, which one year later was to become Frumpy when Udo Lindenberg left to start a solo career and was replaced by Carsten Bohn. Frumpy recorded only two albums, All Will Be Changed (1970) and Frumpy 2 (1971) -- the latter containing the hit single "How the Gipsy Was Born" -- but these two LPs rewrote German rock history. The band was praised as the best German rock act, and Rumpf was declared the greatest individual vocal talent of the German rock scene to date.

After Frumpy disbanded, Rumpf founded Atlantis in 1972, with Kravetz and Schott, along with new additions Frank Diez on guitar and Curt Cress on drums. The same year, the German music magazine Musik Express selected Rumpf best German vocalist, and her band, Atlantis, "best live and studio band." Several U.K. tours, alone and with Lindenberg, made her well-known in the English-speaking hemisphere as well. Atlantis disbanded in 1975 after three excellent years, and Rumpf released her first solo effort, Second Hand Mädchen, which was heavily influenced by Lindenberg who, two years earlier, had established himself as one of the most promising German rock acts. Lindenberg had shown that German lyrics work in rock songs, and so Rumpf switched to singing in German, too, although on her 1981 album, Reality, she sang in English again. She wrote all of the songs herself for this, and even produced it. Tina Turner did a cover of "I Wrote a Letter," which was released as the B-side of her 1984 comeback single "Let's Stay Together" (re-released as a bonus track on the centenary edition of her landmark album Private Dancer in 1998). Also in 1981, Rumpf widened her horizon by accepting a job as a lecturer at the Hamburg Musikhochschule (university of music). Her 1984 album, Liebe, Leiden, Leben, again containing German lyrics, earned critical acclaim and she proved not to have lost any of the power she'd radiated in the ‘70s with Frumpy and Atlantis.

After a short Frumpy reunion in 1991-1992, the ‘90s saw Rumpf experimenting with jazz (with the 1994 album Fifty-Fifty with pianist Joja Wendt) and gospel music. In accordance with the philosophy of gospel, a significant number of her performances took place in churches, her lyrics became more spiritual, and increasingly revealed a Christian context without being preachy, so even atheists should be comfortable with the music of her later career. Critics hailed her 1996 album In the 25th Hour as her best to that point. Among other covers, the album contained her version of Ray Charles' hit "Unchain My Heart," as her best so far. The same year, the compilation The Best of All My Years was released. Her 1999 album, Walking in the Light, contained text adaptations of the biblical Sermon on the Mount.

From 2001 onward, Rumpf started to perform rock, R&B, and soul on a weekly basis in her hometown of Hamburg. Three years later, she founded her own record label, 25th Hour Music with the release of the live album Live im Michel. Rumpf's work with Frumpy and Atlantis, as well as her solo output of later years, is essential listening for everybody who wants to get to know German rock music.

Leonard Cohen's return to touring in 2008 kicked off a remarkably productive and satisfying third act in his career, and his continued enthusiasm for live performances has been both surprising and rewarding, as Cohen has reminded his fans that he's one of the most compelling artists you can see on a stage, even in his eighth decade. But Cohen has also released three live albums since his comeback -- 2009's Live in London, 2010's Songs from the Road, and 2014's Live in Dublin -- and even his most loyal patrons must be wondering how badly they need a fourth. Product overkill might keep some of Cohen's fans away from 2015's Can't Forget: A Souvenir of the Grand Tour, which features live performances and soundcheck recordings from 2012 and 2013 road dates, but from a strict standpoint of quality, Cohen's batting average is still admirably high, and this album once again leaves no doubt as to his continued strength as a vocalist. Admittedly, as Cohen was close to 80 when he recorded most of these performances, his instrument is not as smooth as it once was (and it was never pristine), but he can do remarkable things with the register he has left, and his phrasing is artful while his emotions are honest and beautifully rendered (short of Alberta Hunter, no one in this age bracket has ever sung about sex with this degree of conviction and realism). Cohen's band, who have been consistently superb since he resumed touring, are in great form here, and generally sound a bit more spare and restrained, with fewer extended solos and a coolly blues-influenced feel on a pair of new tunes, "Never Gave Nobody Trouble" and "Got a Little Secret." Good as his bandmates are, on Can't Forget, Cohen is the star, and he's as strong, as witty, and as willing to lay himself emotionally bare as ever; it's anyone's guess how much longer he intends to keep going, but there's nothing here to suggest he needs or wants to quit now.

Reviews: Leonard Cohen's return to touring in 2008 kicked off a remarkably productive and satisfying third act in his career, and his continued enthusiasm for live performances has been both surprising and rewarding, as Cohen has reminded his fans that he's one of the most compelling artists you can see on a stage, even in his eighth decade. But Cohen has also released three live albums since his comeback -- 2009's Live in London, 2010's Songs from the Road, and 2014's Live in Dublin -- and even his most loyal patrons must be wondering how badly they need a fourth. Product overkill might keep some of Cohen's fans away from 2015's Can't Forget: A Souvenir of the Grand Tour, which features live performances and soundcheck recordings from 2012 and 2013 road dates, but from a strict standpoint of quality, Cohen's batting average is still admirably high, and this album once again leaves no doubt as to his continued strength as a vocalist. Admittedly, as Cohen was close to 80 when he recorded most of these performances, his instrument is not as smooth as it once was (and it was never pristine), but he can do remarkable things with the register he has left, and his phrasing is artful while his emotions are honest and beautifully rendered (short of Alberta Hunter, no one in this age bracket has ever sung about sex with this degree of conviction and realism). Cohen's band, who have been consistently superb since he resumed touring, are in great form here, and generally sound a bit more spare and restrained, with fewer extended solos and a coolly blues-influenced feel on a pair of new tunes, "Never Gave Nobody Trouble" and "Got a Little Secret." Good as his bandmates are, on Can't Forget, Cohen is the star, and he's as strong, as witty, and as willing to lay himself emotionally bare as ever; it's anyone's guess how much longer he intends to keep going, but there's nothing here to suggest he needs or wants to quit now.

For 40 years Allan Taylor, born in Brighton in 1945, has been considered as the consummate performer, a writer of literary gracefulness whose troubadour chronicles encapsulate the realism of otherwise unsung heroes, otherwise uncharted lives. His songs are written from a lifetime of travelling; always the observer passing through, each song is a vignette of life, like a story told over a drink in a bar. Each has an integrity that tells you it comes from something real; characters come to life like people you know and places become as familiar as if you had been there.

Stockfisch Records again produced a special project including a symphony orchestra: We speak about the 2016 production with the grandseigneur of songwriting, Allan Taylor! The SACD will be titled: "There Was a Time".

Here is the story behind: Allan had played on the FOLKEST festival every two or three years, usually on the stage in the Piazza Castello of Spilimbergo, a delightful small town near the North Italian city of Udine. The plan arose, that Valter Sivilotti, an Italian composer, arranger and conductor, would make arrangements of a selection of Allan's songs and conduct the orchestra for the concert. This concert took place in July, 2013.

When Günter Pauler of Stockfisch Records heard the demo live-recordings he enthusiasticly suggested to produce a SACD: Allan together with a symphony orchestra! Pauler hired the "Göttinger Symphonie Orchester" with their agile conductor Christoph-Mathias Mueller; Valter Sivilotti and Allan Taylor joined the recordings in Göttingen, and a very successful session was performed. Available from May 2016 as Multichannel-SACD-Hybrid!

Allan Taylor writes about this record: "What you hear on this SACD is the product of great technical and artistic expertise on the part of Stockfisch Records. I wrote some of these songs many years ago, but I hope you enjoy the experience of hearing them in an orchestral setting. Certainly, Valter Sivilotti’s empathy with my songs has created some wonderful settings, and it was a privilege to work with such a creative and empathetic musician."
~ Stockfisch Records

Allan Taylor is one of England's most-respected singer/songwriters. His songs have been covered by artists on both sides of the Atlantic, including Don Williams, Frankie Miller, Fairport Convention, Dick Gaughan, the McCalmans, the Fureys, the Clancy Brothers, and De Dannan. Folk Roots praised him for his "ability to crystallize a mood and evoke an era with the ease of a computer memory access, crafting perfect songs with dramatic changes in the spirit of Brecht, Bikel, and Brel." The Oxford Book of Traditional Verse felt as strongly, writing that Taylor was "one of the most literate and sensitive of contemporary songwriters in terms of words and music and one who is capable of exploring more complex subjects than most of his contemporaries." Inspired by the folk revival that swept the United Kingdom in the mid-'60s, Taylor left school at the age of 16 to run a local folk club. Stepping out as a professional musician five years later, he was greatly supported by members of Fairport Convention. Their friendship was cemented when he toured as opening act for the group's national tour. His 1971 debut album, Sometimes, featured instrumental accompaniment from Fairport's drummer Dave Mattacks, fiddler Dave Swarbrick, and bassist Dave Pegg. Moving to New York in 1972, Taylor recorded The American Album with Nashville and Los Angeles session players. He remained in the United States through 1974. Returning to England, Taylor formed a group, Cajun Moon, featuring fiddler Brian Golbey and keyboard player Jon Gillaspie, to perform American folk and roots music. Signed by Chrysalis in May 1976 following a tour with Steeleye Span, the future seemed secure for Taylor and the group. Their dreams faded, however, when Taylor damaged his vocal cords and was forced to rest for three months. The hiatus put an end to the band's momentum. By the time he had healed from surgery and was ready to return, the group had folded. Resuming his solo career, Taylor signed a publishing deal with Chrysalis and a recording deal with Rubber Records. His first new album, The Traveller, featured instrumental backing by melodeon and accordion player John Kirkpatrick. The album received the Grand Prix du Disque de Montreux for Best European Folk Album in 1980. Taylor spent much of the '80s and early '90s as a student. Although he continued to record, much of his focus was devoted to his studies. He received a bachelor's degree from Leeds University in 1983, a master's from Lancaster University in 1985, and a doctorate from Queens University in Belfast in 1993. His thesis explored the creative process and the power and aesthetics of song.
~ Craig Harris, All Music

JPP – short for Jarvelan Pikkupelimannit ( "Little Folk Musicians of Jarvela" ) – originally formed in 1983 as a local fiddle orchestra in the small town of Jarvela, Finland. Formed around the nucleus of 3 fiddlers, including leader Arto Jarvela, a harmonium player, and a bass player, they spent most of the Eighties and early Nineties gathering a devoted following in Finland and across the world and the reputation of being particularly inventive interpreters of Finland's rich folk heritage. With the publication of Kaustinen Rhapsody, JPP proved itself to be excellent performers of contemporary music as well. In fact, this CD, with its generous peppering of American, Finnish, and Latino styles, demonstrates some of the universal appeal that traditional musics have across the world.
JPP, the internationally known fiddle group from Kaustinen, Finland, celebrates its 33rd anniversary with the release of their eleventh album, Skywire / Taivaankansi on March 20, 2015. Skywire features sixteen new pieces, mostly original compositions by fiddler Arto Jarvela and harmonium player Timo Alakotila plus others by fiddlers Mauno Jarvela and Antti Jarvela plus two by Kaustinen musician Ville Kangas. The Jarvela and Alakotila dual compositional force and the wide variety of music presented makes Skywire the strongest JPP studio album since the 1998 classic String Tease, showcasing once again the band’s skills and versatility as accomplished writers, arrangers and players. Skywire is also the first JPP album to feature four members of the Jarvela fiddling family: Mauno, Arto, Antti and Esko.

The album release, in cooperation with Sibelius Academy Folk Music Department, coincides with JPP’s concert at Savoy Theatre on March 20 which also features the trio Herd with Timo Alakotila and a collaboration between the two groups.

[-- Вход на форум --][-- Вход на форум --][-- Вход на форум --][-- Вход на форум --] DANA WESTOVER-MEMORIAL TO FEAR 1972 mp3 128 kbs [-- Вход на форум --] Tracklist
1 Beginning
2 Dedication
3 Little Flame
4 Crooked Framewind
5 The Effigy
6 From A Tower Window
7 Meet Me There
8 Whisper
9 Song To Sally
10 Teacher
11 Everyday - This is a loner acid folk monster with $1000 price tag among big whig psych collectors. Is it worth the price? Well musically this is up there with the likes of Perry Leopold (maybe a few notches lower in songwriting though) , Dave Bixby (perhaps but not as dark) or Bob Desper, more in style the later, yet with a longer almost progressive drone songwriting vibe going down. This is a major feat when you only have a guitar and voice. This is a demanding listening due to the long drone style but when you get into the style and sound it's a keeper. This isn't your run for the mill 3 minute song, catchy folk album. But it's a unique and original album worthy of the discriminating listener of the underground loner folk genre. Enjoy it and spread the word. Загрузил в 128 потому как думаю его просто трудно найти в другом качестве,звучит нормально,для исповедального жанра вполне_________________ИСКУССТВО ПРИНАДЛЕЖИТ НАРОДУ /В. И. ЛЕНИН/

[-- Вход на форум --][-- Вход на форум --] 128 kbs mp 3 ( This is an album that just caught my attention in full. Here you have a real people Loner downer folk gem from CanadaI . Fragile dark guitar and fragile downer singing. I saw this as a $400 album on the Collector Frenzy site. I later located Mp3's of this gem minus one song. Some songs don't have titles so I'll let you figure them out. Amazing original loner folk album which I hope you will like as much as I do...) [-- Вход на форум --] PHILLIP LEWIN-AM I HERE REALLY ALL ALONE 1975_________________ИСКУССТВО ПРИНАДЛЕЖИТ НАРОДУ /В. И. ЛЕНИН/